78 ordspråk av Lars von Trier
Lars von Trier
Opera is more like melodrama. And the good thing about opera is that if you can accept that people sing instead of talk, then you don't have to go in and out of it. And that means you can have your emotions with you.
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Perhaps it sounds pretentious, but in one way or another I hope that you can see that every image contains an idea. It certainly sounds presumptuous-and perhaps it's also untruthful. But as I see it, every image and every cut is thought out. They are not there by chance.
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Reproduction is a little stupid. You have to put a little something in. It's like in the church you pay a little money to the tithe.
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That's the great thing about entering a convent: There are things that you simply can't do, so you don't have to worry about them.
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The essence of my dramaturgical considerations is that I want to chuck out the most superfluous, habitual constraints and escape from rigidity, but at the same time film is a means of communication.
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The film must be shot on 35 mm film and in Academy, which is a clearly defined format. But when you enter into a collective, you have to submit to the collective.
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The last year has been more full of fear than ever before... but on the personal level, each of my films is a little monument.
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The members of my family that I've shown the film to have also been severely critical toward it.
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The risk is that you furnish the project with new suggestions to try and freshen it up; it's not always beneficial. You risk betraying the original intention with the story, forgetting what it is you really want to portray.
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The rule means-as I interpret it-that you are allowed to do nothing with the sound and picture after shooting: sound and picture hang together, and neither may be changed or moved afterwards.
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This way of working with actors that I have found now is normally a great pleasure, because it means giving a lot of freedom to some people-and to see them enjoy that freedom and to give to the project is usually very nice.
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Visible good easily becomes trite; visually there is very little material left-you know, you make a sunbeam pass over a character or a situation and it becomes far too pathetic and banal.
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We had shot very long scenes, and no scene was like the other. The actors were allowed to move within the scene as they pleased, and they never needed to follow any determined action.
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We had to turn up the colors in the dance sequences to make people feel that there were different levels of the film. I was not so fond of that, because it made the dancing more glamorous in a superficial way than what I really wanted, but it was necessary for the understanding of the two levels.
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When I was younger, I was fascinated by David Bowie, for example. he had created an entire myth around himself. It was as important as his music.
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